tag:blogger.com,1999:blog-5195590583641426943.post1174577412624805545..comments2024-03-26T23:10:34.814-07:00Comments on Grateful Dead Sources: March 15, 1969: Hilton Hotel, San FranciscoLight Into Asheshttp://www.blogger.com/profile/06943335142002007213noreply@blogger.comBlogger11125tag:blogger.com,1999:blog-5195590583641426943.post-17716898851496460972020-01-27T00:38:50.328-08:002020-01-27T00:38:50.328-08:00Don't forget Mickey's gong too!
I haven&#...Don't forget Mickey's gong too! <br />I haven't made a study of the drumming in Dark Star. But the Live/Dead Dark Star captured the song right at the point when percussion was becoming more prominent in it. Usually in the versions from early February '69, I think it's mostly just Mickey on scratcher and gong, and otherwise the only percussion is some tapping or light cymbals. You might find Billy tentatively joining in during the Sputnik jam or the return to the theme, but he's not too active in Dark Star. For instance in the Philadelphia versions, 2/14-15, he doesn't seem to be doing much of anything; the percussion might be all Mickey. <br /><br />But then the Dream Bowl versions see a shift - on 2/21, I think Mickey is actively drumming on his kit in part of the post-verse jam instead of staying on the scratcher. Then on 2/22 after the Sputnik, Billy joins him and both drummers bang away in Dark Star, definitely rare in that period. <br /><br />2/27 is as you noticed: Billy on his drum kit while Mickey stays on scratcher and gong. They stick to that arrangement in the rest of the Fillmore West performances - on 2/28 and 3/2 in particular, Billy's drumming is prominent after the Sputnik jam. (One good point of comparison is that both the 2/15 and 2/28 Dark Star have stretches where Garcia's not playing, off changing a string or something, while the band chugs along - 2/15 has no percussion, but 2/28 has Billy's drums.) <br /><br />The division of labor remains the same through March '69, but the percussion role keeps increasing in Dark Star - by the end of March (3/28-29), Mickey's role in the Sputnik jam is much louder as he adds clacks and scratches; then by 4/5/69 they're back to double-drumming during the Dark Star climax. Meanwhile Billy's drumming in Dark Star gets more aggressive in April - 4/4 for instance is a very percussive version. So as the drummers become more active, April '69 sees a gradual shift to heavier, weirder Dark Stars.<br /><br />All this would be much more obvious if we only had films of the early '69 Dark Stars being played! Light Into Asheshttps://www.blogger.com/profile/06943335142002007213noreply@blogger.comtag:blogger.com,1999:blog-5195590583641426943.post-55313236621077657772020-01-25T17:22:53.131-08:002020-01-25T17:22:53.131-08:00Indeed, that's why I said it's not very ob...Indeed, that's why I said it's not very obvious, it does sound like a stumble. Maybe that's where they got the idea? Who knows, I can't remember ever reading anyone really talk about it anywhere. Now I want to go to 4/5, as the first one that sticks out from memory is 5/24 (an EXCELLENT jam sequence, but they totally botch the drum sequence in question). I don't visit those Avalon shows often enough. <br /><br />Another quirky drum oddity I've always wondered about is the intro to the Live/Dead Dark Star. As soon as any percussion begins Billy is on the trap kit, hitting ride cymbals, kick, and snare while Mickey stays on the scratcher. Very uncharacteristic of the era. From my (deteriorating) memory I don't recall them doing it that way on the following 3 nights. (Yes...this is a thinly disguised way of abusing LIA's encyclopedic knowledge of this stuff instead of doing my own homework!)Jim Fhttps://www.blogger.com/profile/07775659356285581409noreply@blogger.comtag:blogger.com,1999:blog-5195590583641426943.post-22632050641286375502020-01-25T15:58:44.974-08:002020-01-25T15:58:44.974-08:00I didn't really notice that drum part in the 3...I didn't really notice that drum part in the 3/15/69 Eleven, it's not really developed yet... In that period the band usually just keeps playing through without a pause after the vocals. 4/5/69 struck me as the first show where that drum break in the Eleven is really distinct; but they still took a few more months to iron it out. I don't think it became a regular break until July '69. In a lot of the spring '69 shows, that spot after the vocals sounds more like a stumbling-point as the band flails in confusion! Light Into Asheshttps://www.blogger.com/profile/06943335142002007213noreply@blogger.comtag:blogger.com,1999:blog-5195590583641426943.post-76999017912313728102020-01-25T07:46:22.548-08:002020-01-25T07:46:22.548-08:00I love the coordinated drummer part right there: 1...I love the coordinated drummer part right there: 1-2-3, 1-2-3-4, 1-2-3-4-CRASH. I hadn't recalled hearing it as early as March - my sense is they saw it in the summer. By 1/2/70 they nail it, need to revisit 2/5.Fate Musichttps://www.blogger.com/profile/05648291938690043423noreply@blogger.comtag:blogger.com,1999:blog-5195590583641426943.post-3030887521431378992020-01-24T17:14:10.043-08:002020-01-24T17:14:10.043-08:00I've always had a certain fascination with thi...I've always had a certain fascination with this show, it just seems so out of their element and much of the material they performed seems like it would have been very out of place. I could understand some frustration, even from the most hardcore fan, I know I wouldn't be happy if I'd spent the 2020 equivalent of over $120 to have a one set show open with THAT Hard To Handle. But despite the gripes and equipment troubles and everything else, I've always found this to be a very enjoyable Dark Star. And it's also one of my favorite versions of The Eleven. They play it with a level of dynamics that weren't terribly common yet, really quieting things down in parts. It also seems to be one of the earliest examples of that little coordinated part the drummers would play immediately following the "coral sands below..." lyric (sort of like that "bol chant" ya ya yakitta yakitta thing common after the Alligator drums). It's not as pronounced as versions to come (I'm fond of 2/5/70, one of the few times they all nailed it just right), but the groundwork is there. I'm probably just having an old man moment but I don't remember that appearing in the February shows. I'm sure when I listen to them next month I'll prove myself wrong.Jim Fhttps://www.blogger.com/profile/07775659356285581409noreply@blogger.comtag:blogger.com,1999:blog-5195590583641426943.post-49975162707101262182018-09-24T21:37:51.204-07:002018-09-24T21:37:51.204-07:00I added another short piece from the Chronicle, de...I added another short piece from the Chronicle, describing the evening from the point of view of Wendy Weir, dancing the night away with her college friends. Bob shows up at the start of the party with some "colorful friends" before hurrying off to play. And naturally, Wendy doesn't miss the Dead's show! <br />Note the "straight, pump handle beat" of Ernie Heckscher's orchestra, house band at the Fairmont Hotel. Though considered totally square (and best known for playing mellow background music for deb balls and proms since the '40s), I had to picture the orchestra playing an early Pump Song.Light Into Asheshttps://www.blogger.com/profile/06943335142002007213noreply@blogger.comtag:blogger.com,1999:blog-5195590583641426943.post-57767940552268408412018-09-10T16:39:02.906-07:002018-09-10T16:39:02.906-07:00The San Francisco Examiner also covered the Sympho...The San Francisco Examiner also covered the Symphony Ball, though without much attention to the Dead.<br /><br />From the Society column, 1/16/69: “The suspended animation since 1965 of the Black and White Symphony Ball is being revived by The Grateful Dead, one of the nation’s top rock groups – an ironic touch, to say the least. They will be one of the musical groups to play at the four hotel locations, March 15...<br />And if the Grateful Dead aren’t your cup of tea dancing, the Symphony orchestra will play for dancing, as will Ernie Heckscher’s society band.”<br /><br />3/6/69: “While you can pick and choose what type of music you prefer that night, the hip money is on the Grateful Dead and the Little Princess 109 light show at the Hilton. Avant-garde Paraphernalia will present the fashion show. Smoking you-know-what is at your own risk.”<br /><br />3/9/69: in the list of hotels the various orchestras are to play at, "the Grateful Dead and Country Weather will rock in the Imperial Ballroom at the Hilton."<br /><br />The Ball was reviewed in the 3/17/69 Examiner (Albert Morch, "Flittery Black, White Ball"). Being a society column, most attention was devoted to names, costumes, and hotel decor; but it did mention “the raucous rock at the heavy hands of the Grateful Dead and the Country Weather inundated by the mind-bending light show of ever-changing colors and patterns at the Hilton... Surprisingly, there were not a lot of costumes in evidence, meaning the ball-goers were more geared for dancing than parading. A number of hippies hovered about the rock bandstand at the Hilton and were easily discernible by their costume, attitude, or both... Those [youngsters] who like to give their eardrums a workout spent a goodly time at the tempo-tossed Hilton. Wendy Weir had to be there. Her brother, Bob, plays guitar with the Grateful Dead.” <br />The Examiner sneered that the "smartly dressed young With-Its," beautiful post-debs and handsomely dressed gentlemen "made one realize just how passe is Hippiedom." But now it's confirmed that Country Weather played as well...or at least, were mentioned in a post-show review, whether or not the reviewer saw them. Light Into Asheshttps://www.blogger.com/profile/06943335142002007213noreply@blogger.comtag:blogger.com,1999:blog-5195590583641426943.post-23714228259838554012018-08-02T21:19:32.790-07:002018-08-02T21:19:32.790-07:00It strikes me that the other band, Country Weather...It strikes me that the other band, Country Weather, was listed in advance (on the poster and a couple newspaper listings), but the available newspaper reviews after the ball don't mention them. Assuming more evidence doesn't turn up, this either means they didn't appear after all, or just that they were considered beneath notice by the Chronicle reporters. Light Into Asheshttps://www.blogger.com/profile/06943335142002007213noreply@blogger.comtag:blogger.com,1999:blog-5195590583641426943.post-66075826900874271242018-08-02T15:33:05.418-07:002018-08-02T15:33:05.418-07:00I was happy to find a couple more pieces on this e...I was happy to find a couple more pieces on this event from Frances Moffatt's society column in the Chronicle, and have added those. <br /><br />Despite Weir's mom's efforts, the Dead weren't quite warmly welcomed by high society, and we're left with Scully's apologies. I suppose the elderly socialites would have drifted to the more sedate orchestras playing at other hotels that evening. Moffatt wondered whether anyone would dance, but Garcia was happy to see people dancing, in contrast to the Fillmore audiences who "generally sit on the floor and listen instead of dancing." Light Into Asheshttps://www.blogger.com/profile/06943335142002007213noreply@blogger.comtag:blogger.com,1999:blog-5195590583641426943.post-58817026095731446262013-06-29T16:41:00.528-07:002013-06-29T16:41:00.528-07:00So many thanks for the info an insight on this dat...So many thanks for the info an insight on this date .Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-5195590583641426943.post-37700998642624006302013-06-09T00:47:41.302-07:002013-06-09T00:47:41.302-07:00Some articles just can't be improved on. Thoug...Some articles just can't be improved on. Though short, Caen's review is great.<br /><br />McNally has a lengthy account of this show in his book, p.304. <br />Weir's mother was chairman of the SF Symphony entertainment committee, and she got the Dead to play at the symphony's benefit ball. With the rock portion of the event located in the Hilton Hotel's Grand Ballroom, admission $17.50, and attendees attired in black & white, this show would not have attracted the Dead's usual audience! (Though Garcia contrasts the dancing ballroom audience with "the kids at the Fillmore, who never dance.")<br />McNally: "The band and equipment arrived on time, but Bear announced that he needed a missing item back in Novato, and vanished. While the musicians prepared themselves in a room upstairs, Bear actually went to sleep in an equipment case under the stage. When the lateness of the hour dawned on the band, they rousted him from his refuge, scourged him into setting up the stage, and at long last began to play... The Dead played for an hour, and McIntire told them to stay put while he pinned down the night's schedule. It took him quite a while to find the right person, too long in fact, and when the mayor arrived...there was no band left." <br />They drifted off before the final ceremony, leading one society columnist to call them the "Ungrateful Dead."<br /><br />McNally goes into great detail about the evening's costumes. Apparently the "Angels of the Dead" were Ron Rakow's wife and "the Jensen girls from Marin," who despite their youth, had the wisdom to "never never stand in front of Jerry's speaker." <br /><br />Our tape starts with lengthy sound adjustments & complaints to Bear. Given the high-society ballroom setting, naturally they start with their first-ever rendition of Hard to Handle, which is uncoordinated to say the least.<br />It's understandable why Garcia lamented about the performance afterwards! <br /><br />It was also Phil's birthday.Light Into Asheshttps://www.blogger.com/profile/06943335142002007213noreply@blogger.com